Bhavantam

Achintya divyaadbhuta nitya yauvana
svabhaava laavanya mayaamritodadhim
shriyah shriyam bhaktajanaika jeevitam
samartham aapatsakham arthikalpakam. 1.

Bhavantam evaanucharan nirantaram
prashanta nissesha manorathaantarah
kadaaham aikantika nitya kinkarah
praharshayaami sanaathajeevitah. 2.

Viraajamaanojjvala peetavaasasam
smitaatasee soona samaamalacchavim
nimagna naabhim tanumadhyamunnatam
visaala vakshasthala shobhi lakshanam. 3.

Chakaasatam jayaakina karakasaih shubhaih
chaturbhiraajaanu vilambibhir bhujaih
priyaavatamsotpala karanabhooshana
slathaalakaabandha vimarda samsibhih. 4.

Udagra pinaamsa vilambi kundala
alakaavali bandhra kambu kandharam
mukhashriyakkrita poorna nirmala
amritaamsu bimbaamburuhojjvala sriyam. 5.

Prabhuddha mugdhaambuja chaarulochanam
Savibhrama bhrulatamujjvalaadharam
Suchismitam kamalagandam unnasam
Lalaata paryanta vilambitaalakam. 6.

Sphurat kirteetaangadahaara kanthikaa
maneendra kaancheeguna noopuraadibhih
rathaanga sankhaasi gadaa dhanurvaraih
lasattulasyaa vanamaalayojjvalam. 7.

1. You who are the nectar ocean of natural beauty, who have perpetual youth beyond all comprehension, You who are the fortune of the goddess of Fortune herself, are the sustaining force of the devotees, are the great helper in adversity and are a veritable wish yielding tree to the supplicants (when will I be able to serve you and be blessed.
2. Constantly (nirantaram) waiting (Anusaran) on you alone, having turned away from all other desires,(prashaanta nissesha manorathantharah) not having any other than you and serving you alone, (Aikantika nitya Kinkarah) having you alone as the Lord, when will I be blessed when will I reach you.(sanathajivitah)
3. One who is beautifully attired in shining yellow clothes, whose splendour is equal to that of a blooming black flower, who is endowed with a slender waist and a depressed naval, the shining srivatsa mark on his chest when will I be able to serve you.
4. You who shine with the four auspicious arms which reach upto the knees, which bear the rough scars of the bow strings, which speak of the contact with sri and have sweet smelling fragrance and which are holy when will I be able to serve you.
5. Whose conch like neck is adorned by the lustre of the earrings which are extending upto the large broad shoulders whose sheen of face surpasses the lustre of the full moon as also the glow of the red lotus, in full bloom when will I serve you and be blessed.
6.  Who has eyes which are beautiful like a lotus, who has graceful creeper like brows, shining lips which have a half smile, soft cheeks, prominent nose, curls hanging upto the forehead when will I serve You and be blessed.
7. You who are wearing a shining diadem, bracelets, a garland of pearls, a necklace, the kaustubha gem, the girdle and anklets, who has the five weapons, the conch, the discus, the sword, the club and the bow, who is wearing the garland of basil leaves when will I be able to serve you and be blessed,

G P

Sriyah pati or Sriman NARAYANA
|
Goddess LAKSHMI or Sri.
\
Sri Visvaksena
\
Sri Sathakopan or Nammalvar
\
Sri Nathamuni
\
Sri Uyyakkondar or Sri Pundarikaksa
\
Sri Manakkal Nambi or Sri Ramamisra
\
Sri Alavandar or Sri Yamunacarya
\
Sri Periyanambi or Sri Mahapurana
\
Sri Ramanuja or Sri Emburumanar.

Sri Ramanuja synthesised and explained the various truths contained in the Brahmasutras in accordance with the spirit of the Vedas, the Upanishads, the Agamas, the Ithihasas, the Puranas and the Divyaprabhandas of Alvars. For this reason he is deemed to be the foremost propounder of the Visistadvaita system of philosophy, which is therfore called Ramanuja Darshanam even though the philosophy was expounded and fully developed during the times of Sri Nathamuni and Sri Alavandar. Sri Ramanuja's immediate disciples were Sri Kuresa, Sri Nadadur Alavan, Sri Kidambi Accan and Sri Thirukkuungaipiran Pillan who by virtue of their studies under Sri Ramanuja were founders of the following Paramparas.

Bhagavadvisaya Parampara.

Sri Kuresa    and   Embar
\
Sri Parasara Bhatta
\
Sri Nanjiyar
\
Sri Nampillai
\
Sri Vadakku Tiruvithi Piullai
\                                            \
Sri Rangaraja                        Sri Pillailoka cariyar
\                                             \
Sri Kesavaraya                      Sri Tiruvaymoli Pillai
\                                              \
Sri Srinivasarya                     Sri Manavala Mahamuni or Varavara Muni
\
Sri Adivan Sathakopa
Yatidra Mahadesikan.


Samasrayana Parampara.

Sri Nafdadur Alavan
\
Sri Devaraja Perumal
\
Sri Nadadur Ammal


Rahasya Parampara

Sri Kidambi Accan
\
Sri Ramanujacharya
\
Sri Rangaraja
\
Sri Appullar (Atreya Ramanuja)


Sri Bhasya Parampara

Sri Tirukku rungiran Pillan
\
Sri Engal Alavan
\
Sri Nadadur Ammal
\
Sri Appular
\
Si Vedanta Desika
\
Sri Kumara Vardachariar
\
Sri Branhmantrntra Svatantra Svami
\
Sri Varada Vishnuvarya
\
Sri Ghatikasalam Ammal
\
Sri Adivansathakopa Yatindra Maha Desikan
\

alq

My concern is not whether God is on our side; my greatest concern is to be on God’s side, for God is always right.

I’m a success today because I had a friend who believed in me and I didn’t have the heart to let him down.

Whatever you are, be a good one.

Nearly all men can stand adversity, but if you want to test a man’s character, give him power.

Those who deny freedom to others, deserve it not for themselves.

There are no bad pictures; that’s just how your face looks sometimes.

Those who look for the bad in people will surely find it.

Be sure you put your feet in the right place, then stand firm.

Character is like a tree and reputation its shadow. The shadow is what we think it is and the tree is the real thing.

Tact: the ability to describe others as they see themselves.

The best way to predict your future is to create it.

story

https://mail.google.com/mail/u/0?ui=2&ik=af663e1d81&attid=0.1&permmsgid=msg-f:1665547771026593497&th=171d36df907bd6d9&view=att&disp=safe

A slice of life

A tale of teenage angst set in an urban contemporary milieu holds the reader’s attention.

Revathi Suresh’s Young Adult debut novel has no vampires but the author’s fascinating narrative of teenage angst, set in a contemporary urban milieu, holds the reader’s interest. What is it to be a moody, modern teen in a rather unstable family living in a metro?

Kaavya, the chief protagonist and voice of the book, is 16 and Barbie- phobic. She has a young brother named Dhrittiman, a brat who is her bane as well as responsibility, and whom she terms ‘ Dirtyman’. Their parents live apart, and both Kaavya and Dirtyman don’t go to school. That’s where the whole difference begins, and their apartment complex ostentatiously named ‘ Grand Canyon’ is full of ‘ normal’ folk; kids who at least pretend to go to school, and have a hectic social life. And there are a lot of tales floating around about Kaavya’s family and life, but the ‘ normal’ reader is pacified by the fact that the duo does prepare for exams by private study and, in short, appear better prepared for Life. Kaavya and Dirtyman deal with a mom who is depressed, strict, irresponsible and alone, a father who has lost contact with them, and an aunt and uncle who are also ‘ different’. Oh, and Kaavya has dimples, handed down from her Dad.

Kaavya also seems to have some friends, but whether they are friends or not is a story to be read through and the whole episode of Kaavya’s narrative starts with a ‘ Manisha Day’, her memories of her first- ever friend. What happened to Manisha is also one of the threads that keeps the book live. Kaavya’s life oscillates between ‘ bad Manisha days’ and her wish for ‘ good Kiran days’, the latter being a boy in the same neighbourhood on whom she and a whole lot of other girls have a crush. Kaavya has this overwhelming feeling that she doesn’t belong to any of these worlds and, in trying to be ‘ normal’, is caught in a labyrinth of apparently meaningless activity which seems to spin circles round her. I will stop short of the spoilers that threaten to leap in any moment.

The book is certainly sliceof- life, and showcases difficult relationships within families, between friends, among neighbours and exams and issues that every city teen transcends in a routine day. But what lifts it above the ordinary is the voice. Revathi scores high with the voice, it’s just right. The reader only needs to climb on to the narrative wagon and ride along with Kaavya; not once does the tone or mood stray away from that of a confused 16year- old. It stays amazingly on track, right down to the vocabulary of even teen thoughts.

What’s more interesting is the grip the book has on the attention of all age groups. While teenage readers are sure to identify with the situations and stresses of a contemporary ruthless world, adult readers will find themselves hooked to the story too. So are the rest of the characters, helped on by Facebook, chat, mail, text speak and Kate Perry songs and a lot of social activity, both virtual and real. Kaavya’s thoughts reach out to you from the pages of JCR with a wry humour and matter- offact tone that makes you laugh out loud; her vocabulary is surprisingly profound for a kid who doesn’t go to school; it’s amusing and exact for the observations she likes to make of Life as she sees around her. The totally non- didactic quality of the writing as it deals with the issues of adolescent anguish engages the reader right through the 173 pages of the book. What a relief to find an author who doesn’t talk down to you.

THANGHAT KARE.

Mor bani thanghat kare
Mann mor bani thanghat kare Ghanghor jhare chahu ore maaru mann
Mor bani thangaat kare
Mann mor bani thangat kare
Mann mor bani thangat kare

Maaru mann mor bani thanghat kare
Mann mor bani thanghat kare
Mor bani thanghat kare
Mann mor bani thanghat kare

Ghanghor jhare chahu ore maaru mann
Mor bani thanghat kare
Mann mor bani thanghat kare
Mann mor bani thanghat kare

Maaru mann mor bani thanghat kare
Mann mor bani thanghat kare
Mor bani thanghat kare
Mann mor bani thanghat kare

Gharr gharr gharrar meghghata
Gagane gagane garjaat kare
Ghumri ghumri garjaat bhare
Navedhaan bhari saari sim jhule
Nadiyu navjoban bhaan bhule
Nav din kapotani paak khule

Maghara maghara malkaine medak
Neh su neh su baat karein
Gagane gagane ghumarai ne paagal…

maithili

Maithili literature is the entire collection of poetry, novels, short stories, documents and other writings in the Maithili language. The most famous literary figure in Maithili is the poet Vidyapati (1350–1450), who wrote his poems in the language of the people, i.e., Maithili, at a time when state's official language was Sanskrit and Sanskrit was being used as a literary language. The use of Maithili, instead of Sanskrit, in literature became more common after Vidyapati.

The main characteristics of Magadhi Prakrit is to mutate 'r' into 's', the 'n' for n, of 'j' for 'y', of 'b' for 'y' In the edicts of Ashoka the change of 'r' to 'h' is established. Mahavir and Buddha delivered their sermons in the eastern languages. The secular use of language came mainly from the east as will be evident from the Prakritpainglam, a comprehensive work on Prakrit and Apabhramsa-Avahatta poetry. Jyotirishwar mentions Lorika. Vachaspati II in his Tattvachintamani and Vidyapati in his Danavakyavali have profusely used typical Maithili words of daily use.

The Maithili script, Mithilakshara or Tirhuta as it is popularly known, is of a great antiquity. The Lalitavistara mentions the Vaidehi script. Early in the latter half of the 7th century A.D., a marked change occurred in the northeastern alphabet, and the inscriptions of Adityasena exhibit this change for the first time. The eastern variety develops and becomes the Maithili script, which comes into use in Assam, Bengal, and Nepal. The earliest recorded epigraphic evidence of the script is found in the Mandar Hill Stone inscriptions of Adityasena in the 7th century A.D., now fixed in the Baidyanath temple of Deoghar.

The language of the Buddhist dohas is described as belonging to the mixed Maithili—Kamrupi language.

The period was of ballads, songs, and dohas. Some important Maithili writers of this era were:

Jyotirishwar Thakur or Kaviśekharācārya Jyotirīśvara Ṭhākura (1290–1350) was a Maithil poet and an early Maithili and Sanskrit writer, known for the Varṇa Ratnākara, his encyclopedic work in Maithili.

yotirishwar was son of Rāmeśvara and grandson of Dhīreśvara. He was the court poet of King Harisimhadeva of Karnata dynasty of Mithila (r. 1300–1324).

His most significant work in Maithili, the Varṇa Ratnākara (1324) is an encyclopedic work in prose. This work contains descriptions of various subjects and situations. This work provides valuable information about the life and culture of medieval India.^[1] The text is divided into seven Kallolas (waves): Nagara Varṇana, Nāyikā Varṇana, Asthāna Varṇana, Ṛtu Varṇana, Prayāṇa Varṇana, Bhaṭṭādi Varṇana and Śmaśāna Varṇana. An incomplete list of 84 Siddhas is found in the text, which consists only 76 names. A manuscript of this text is preserved in the Asiatic Society, Kolkata (ms. no 4834 of Asiatic Society of Bengal).

Modern Maithili came into its own after George Abraham Grierson, an Irish linguist and civil servant, tirelessly researched Maithili folklore and transcribed its grammar. Paul R. Brass wrote that "Grierson judged that Maithili and its dialects could fairly be characterized as the language of the entire population of Janakpur, Siraha, Saptari, Sarlahi, Darbhanga and Madhubani".^[3]

In April 2010 a translation of the New Testament into Maithili was published by the Bible Society of India under joint copyright with Nepal Wycliffe Bible Translators.

The development of Maithili in the modern era was due to magazines and journals. Some important writers of this era are:

• Baldev Mishra (1890–1975)^[4]
• Krishna Kumar Jha 'Anveshak", Editor of Maithili Darpan Magazine and author of Mithila Anveshan
• Hari Mohan Jha 'Kanyadaan, (1908-1984)
• Surendra Jha 'Suman' (1910–2002) represented Maithili in the Sahitya Akademi
• Radha Krishna Choudhary (1921–1985)
• Jaykant Mishra (20 December 1922 – 3 February 2009) represented Maithili in the Sahitya Akademi
• Dr Ramdeo Jha(3 May 1936 - )(Represented Maithili in Sahitya Akademi)( 3 Times Sahitya Akademi Awardee)
• Rajkamal Chaudhary (1929–1967)
• Binod Bihari Verma (1937–2003)
• Parichay Das (1964– )
• Gajendra Thakur (1971– )
• Subhadra Jha
• Bhola Lal Das
• Uday Chandra Jha Vinod
• Dr.(Prof) Surendra Lal Das - (1949-2018) (Aab ki ,Sanjog sa)
• Dilip Kumar Jha (1966- )
• Dr.Vidyanath Jha "Vidit"